The Maharajah Collection of Sheikh Al-Thani
Source: Al-Thani Collection
As purveyors of fine jewellery to discerning clients and gem hunters of rare and exotic stones on the planet, we’ve been privy to some of the most prized rocks and magnificently handcrafted pieces to adorn living bodies.
Yet this particular collection that made up one of the most anticipated sales organised by auction house Christie's earlier this year has even our team swooning!
A Passage to India
For one, the bygone age of Maharajahs during the time of Shah Jahan, is very embodiment of romance, a term that we take very seriously at Arte Oro. Most of the work we do is either driven by or a tribute to romance.
The very meaning of “bespoke” is “to speak for something” and to capture its essence by creating an object that is spoken for; this is what we live for, especially when the notion of slow goods and personalisation is often overlooked and underappreciated in favour of instant gratification or mainstream appeal known as “trends”.
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It was fifth Mughal emperor Shah Jahan who famously devoted 22 years and commissioned over 20,000 labourers to build the Taj Mahal as a symbol of love for his favourite wife Mumtaz Mahal upon her passing. And this wonder of the world that stands to this day in Agra is a testament to that grand and everlasting love affair.
The romance of this relationship was not just a sentimental one; it was steeped in excess. In their life together before her demise, he adorned her with jewels from head to toe. Shah Jahan himself, ruled his kingdom from a “Peacock Throne” – a seat decorated with gemstones that included diamonds, sapphires, rubies and emeralds. It’s centrepiece was a 50-carat pear-shaped pearl.
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So the idea that Qatari prince Sheikh Hamad bin Abdullah Al-Thani had amassed a whole collection of jewellery that belonged to Maharajahs and Maharanis is mind-boggling to the senses – especially if you’re partial to glittering objects.
A Whole Lot Of Treasure
Then there is the question of quantity. The collection amounts to some 400 lots, ranging from $10,000 to $10 million. The sheer scale and size of this collection of royal treasures include everything from 21st-century Cartier jewels to 17th-century Mughal weapons.
The Nawanagar Ruby Necklace. Cartier, 1937.
It was designed for Maharaja Digvijaysinhji of Nawanagar in 1937 using an exceptional group of oval and cushion-cut Burmese rubies
Source: Al-Thani Collection
The Tiger Eye Turban Ornament. Cartier, 1937.
Source: Al-Thani Collection
The amount of time invested by His Excellency Hamad Al-Thani in gathering a trove of this size and significance was no less than a decade. Fortunately for gem lovers and scholars like ourselves, he did not hoard the items in a vault but sought to share the beauty of these precious artifacts with the world at large, displaying them in public exhibitions, such as the dedicated Al-Thani collection at the New York Metropolitan Museum of Art in 2014.
In putting the collection up for sale, the Al-Thani Foundation hopes to use the proceeds to continue its mission of promoting artistic achievements of diverse cultures through its various educational initiatives for the public, which includes sponsorships, exhibitions as well as academic works.
The sale itself was estimated to bring in a projected estimate “in the 9 figures” – something that is never-before seen or heard in auction circles, its importance on par only to the likes of Elizabeth Taylor ‘s estate sale of her jewels, which we also wrote about here.
The Stars of The Showcase
The highlight of the Al-Thani sale is this Devant-de-corsage brooch by Cartier, made originally for a De Beers director in 1912. It consists of diamonds of varying sizes from 3.54 to 34.08 carats.
Devant-de-corsage Brooch. Cartier, 1912.
Source: Al-Thani Collection
Turban ornaments also featured strongly in the collection. Not a mere accessory, these were signals of rank; it is often solely the Maharajah who would don these precious elements on his headgear. Unlike Westerners, the practice of earrings, bracelets, necklaces, and as sartorial accessories is not reserved for women only in India - especially for members of the royal court. From the Mughal era and beyond, it is custom for kings and princes to bedeck themselves with jewels as a symbol of wealth and superiority.
Turban Ornament. Cartier, 1900.
This ornament in particular is an emerald of significant size, cleverly cut to showcase its beauty and surrounded by diamonds. A voluminous plume of either heron or egret feathers sits majestically on top of the clip, upon which also dangles a large teardrop pearl to one side.
Source: Al-Thani Collection
Patiala Ruby Choker. Cartier, 1931.
Last but definitely not least, what jewellery collection is complete without a statement necklace worn by a Queen? The immense grandeur of a Maharani's trousseau is perhaps best depicted in pieces such as this choker of rubies, pearls and diamonds in platinum settings was made by Cartier in 1931.
Source: Al-Thani Collection
A perfect compromise between contemporary jewellery and the customary opulence of Qatar royalty, this delicate adornment is the smallest surviving part of a number of jewels from Cartier and Boucheron ordered by the royal for himself and the women in his life.